The Project Gutenberg eBook of The Ontario High School Reader, by A. E. Marty.

Preparatory.—Divide the sonnet into two parts, giving each part a title.

Read the first part in prose order, supplying the ellipses.

How many distinct statements are there in the second part?

Select the clauses of the first part that are equal in rank and have the same Shading. Show which should be made prominent, and which held in the background.

Read the first part of this sonnet, with a view to Perspective. (Introduction, p. 33.)

1-4. With what do you connect When ... spent, and Lodged? How?

How do you make the statements of the second part stand out singly? (Introduction, pp. 8 and 10.)

BRIGGS IN LUCK

If he is a good-hearted boy, as I have reason to think, the very first thing he will do, before inspecting the contents of the hamper, or cutting into them with the knife which Master Brown has so considerately lent him, will be to read over the letter from home which lies on top of the parcel. He does so, as I remarked to Miss Raby (for whom I happened to be mending pens when the little circumstance arose), with a flushed face and winking eyes. Look how the other boys are peering into the basket as he reads—I say to her, "Isn't it a pretty picture?" Part of the letter is in a very large hand. That is from his little sister. And I would wager that she netted the little purse which he has just taken out of it, and which Master Lynx is eyeing.

"You are a droll man, and remark all sorts of queer things," Miss Raby says, smiling, and plying her swift needle and fingers as quick as possible.

"I am glad we were both on the spot, and that the little fellow lies under our guns as it were, and so is protected from some such brutal school-pirate as young Duval for instance, who would rob him, probably, of some of those good things; good in themselves, and better because fresh from home. See, there is a pie as I said, and which I daresay is better than those which are served at our table (but you never take any notice of these kind of things, Miss Raby), a cake, of course, a bottle of currant wine, jam-pots, and no end of pears in the straw. With this money little Briggs will be able to pay the tick which that impudent child has run up with Mrs. Ruggles; and I shall let Briggs Major pay for the pencil-case which Bullock sold to him.—It will be a lesson to the young prodigal for the future.

"But, I say, what a change there will be in his life for some time to come, and at least until his present wealth is spent! The boys who bully him will mollify toward him and accept his pie and sweetmeats. They will have feasts in the bedroom; and that wine will taste more deliciously to them than the best out of the Doctor's cellar. The cronies will be invited. Young Master Wagg will tell his most dreadful story and sing his best song for a slice of that pie. What a jolly night they will have! When we go the rounds at night, Mr. Prince and I will take care to make a noise before we come to Briggs's room, so that the boys may have time to put the light out, to push the things away, and to scud into bed. Doctor Spry may be put in requisition the next morning."

"Nonsense! you absurd creature," cries out Miss Raby, laughing; and I lay down the twelfth pen very nicely mended.

"Yes; after luxury comes the doctor, I say; after extravagance, a hole in the breeches pocket. To judge from his disposition, Briggs Major will not be much better off a couple of days hence than he is now, and, if I am not mistaken, will end life a poor man. Brown will be kicking his shins before a week is over, depend upon it. There are boys and men of all sorts, Miss R.—there are selfish sneaks who hoard until the store they daren't use grows mouldy—there are spendthrifts who fling away, parasites who flatter and lick its shoes, and snarling curs who hate and envy good fortune."

I put down the last of the pens, brushing away with it the quill chips from her desk first, and she looked at me with a kind, wondering face. I brushed them away, clicked the pen-knife into my pocket, made her a bow, and walked off—for the bell was ringing for school.

THE LAUGHING SALLY

A wind blew up from Pernambuco, (Yeo heave ho! the Laughing Sally! Hi yeo, heave away!) A wind blew out of the east-sou'-east And boomed at the break of day. 5
The Laughing Sally sped for her life, And a speedy craft was she. The black flag flew at her top to tell How she took toll of the sea.
The wind blew up from Pernambuco;10 And in the breast of the blast Came the King's black ship like a hound let slip On the trail of the Sally at last.
For a day and a night, a night and a day; Over the blue, blue round,15 Went on the chase of the pirate quarry, The hunt of the tireless hound.
"Land on the port bow!" came the cry; And the Sally raced for shore, Till she reached the bar at the river-mouth20 Where the shallow breakers roar.
She passed the bar by a secret channel With clear tide under her keel,— For he knew the shoals like an open book, The captain at the wheel.25
She passed the bar, she sped like a ghost, Till her sails were hid from view By the tall, liana'd, unsunned boughs O'erbrooding the dark bayou.
At moonrise up to the river-mouth30 Came the King's black ship of war, The red cross flapped in wrath at her peak, But she could not cross the bar.
And while she lay in the run of the seas, By the grimmest whim of chance,35 Out of the bay to the north came forth Two battle-ships of France.
On the English ship the twain bore down Like wolves that range by night; And the breakers' roar was heard no more40 In the thunder of the fight. The crash of the broadsides rolled and stormed To the Sally hid from view Under the tall liana'd boughs Of the moonless dark bayou.45
A boat ran out for news of the fight, And this was the word she brought— "The King's ship fights the ships of France As the King's ships all have fought!"
Then muttered the mate, "I'm a man of Devon!"50 And the captain thundered then— "There's English rope that bides for our necks, But we all be Englishmen!"
The Sally glided out of the gloom And down the moon-white river. 55 She stole like a gray shark over the bar Where the long surf seethes for ever.
She hove to under a high French hull, And the red cross rose to her peak. The French were looking for fight that night,60 And they hadn't far to seek.
Blood and fire on the streaming decks, And fire and blood below; The heat of hell, and the reek of hell, And the dead men laid a-row!65
And when the stars paled out of heaven And the red dawn-rays uprushed, The oaths of battle, the crash of timbers, The roar of the guns was hushed.
With one foe beaten under his bow,70 The other far in flight, The English captain turned to look For his fellow in the fight.
The English captain turned and stared;— For where the Sally had been75 Was a single spar upthrust from the sea With the red cross flag serene!
. . . . . .
A wind blew up from Pernambuco (Yeo heave ho! the Laughing Sally! Hi yeo, heave away!) And boomed for the doom of the Laughing Sally! Gone down at the break of day.

Preparatory.—Divide the poem into sections giving to each part a descriptive title. (Introduction, p. 10.) How is each section made to stand out?

In what Time is the section which describes the flight of the Laughing Sally read? Give your reason. (Introduction, pp. 5 and 13.)

Contrast the first and last stanzas from the standpoint of feeling. How does the voice express the difference?

blew, knew, news, King's ship, seethes, and. (Appendix A, 2, 3, 5, and 6.)

Distinguish the sound of a in Laughing Sally, craft, last, passed, wrath, chance, crash, dark, far, dawn. (Appendix A, 1.)

8-9. Note the Grouping and Pause. (Introduction, p. 11.)

11-13. Observe the Grouping. Which phrases have the heaviest Shading? (Introduction, p. 33.)

16. Where is the Pause? Why?

18. Land on the port bow. What change is made in Pitch and Force? Account for it. (Introduction, pp. 22 and 25.)

24. What is the Inflection on this line?

30-37. Observe the Grouping and Shading throughout these stanzas.

38-45. What sense is appealed to in these stanzas? How is the Time affected?

46-53. How are the transitions to direct discourse indicated? (Introduction, p. 24.)

What is the difference in Pitch between the mate's and the captain's speech? (Introduction, p. 23.)

66-67. Note the contrast with the preceding stanza and with the two following lines.

THE PRODIGAL SON

And he arose, and came to his father. But when he was yet a great way off, his father saw him, and had compassion, and ran, and fell on his neck, and kissed him. And the son said unto him, Father, I have sinned against heaven, and in thy sight, and am no more worthy to be called thy son. But the father said to his servants, Bring forth the best robe, and put it on him; and put a ring on his hand, and shoes on his feet: And bring hither the fatted calf, and kill it; and let us eat, and be merry; For this my son was dead, and is alive again; he was lost, and is found. And they began to be merry.

Now his elder son was in the field: and as he came and drew nigh to the house, he heard musick and dancing. And he called one of the servants, and asked what these things meant. And he said unto him, Thy brother is come; and thy father hath killed the fatted calf, because he hath received him safe and sound. And he was angry, and would not go in: therefore came his father out, and intreated him. And he answering said to his father, Lo, these many years do I serve thee, neither transgressed I at any time thy commandment; and yet thou never gavest me a kid, that I might make merry with my friends: But as soon as this thy son was come, which hath devoured thy living with harlots, thou hast killed for him the fatted calf. And he said unto him, Son, thou art ever with me, and all that I have is thine. It was meet that we should make merry, and be glad, for this thy brother was dead, and is alive again; and was lost, and is found.

Preparatory.—Divide this parable into four parts, giving each part a descriptive title.

Describe pictures to illustrate each part.

Connect the parable with any similar story drawn from modern life. Fill in details to account for (a) the prodigal's desire to leave home, (b) the father's great joy at his return, (c) the elder brother's jealousy.

How many hired servants, etc. What are the prodigal's feelings? What new feeling is introduced with (a) I will arise, etc.? (b) Father, I have sinned, etc.?

In what Time and Pitch do you read the passages which describe the father's joy? (Introduction, pp. 12 and 22.)

What feeling pervades the speech of the elder son? What is the motive of the father's reply?

Explain the Emphasis in the following; (a) and he sent him; (b) and I perish; (c) Now his elder son; (d) therefore came his father out; (e) thou never gavest me a kid. (Introduction, pp. 30 and 31.)

Explain the Inflection on dead, alive, lost, found.

CHRISTMAS AT SEA

The sheets were frozen hard, and they cut the naked hand; The decks were like a slide, where a seaman scarce could stand; The wind was a nor'-wester, blowing squally off the sea; And cliffs and spouting breakers were the only things a-lee.
They heard the surf a-roaring before the break of day;5 But 'twas only with the peep of light we saw how ill we lay. We tumbled every hand on deck instanter, with a shout, And we gave her the maintops'l, and stood by to go about.
All day we tacked and tacked between the South Head and the North; All day we hauled the frozen sheets, and got no further forth;10 All day as cold as charity, in bitter pain and dread, For very life and nature we tacked from Head to Head.
We gave the South a wider berth, for there the tide-race roared, But every tack we made we brought the North Head close aboard; So's we saw cliffs and houses, and the breakers running high,15 And the coast-guard in his garden, with his glass against his eye.
The frost was on the village roofs as white as ocean foam; The good red fires were burning bright in every 'longshore home; The windows sparkled clear, and the chimneys volleyed out; And I vow we sniffed the victuals, as the vessel went about.20
The bells upon the church were rung with a mighty jovial cheer; For it's just that I should tell you how (of all days in the year) This day of our adversity was blessèd Christmas morn, And the house above the coast-guard's was the house where I was born.
O well I saw the pleasant room, the pleasant faces there,25 My mother's silver spectacles, my father's silver hair; And well I saw the firelight, like a flight of homely elves, Go dancing round the china plates that stand upon the shelves.
And well I knew the talk they had, the talk that was of me, Of the shadow on the household and the son that went to sea;30 And O the wicked fool I seemed, in every kind of way, To be here and hauling frozen ropes on blessèd Christmas day.
They lit the high sea-light, and the dark began to fall. "All hands to loose topgallant sails," I heard the captain call. "Captain, she'll never stand it," our first mate, Jackson, cried.35 "It's the one way or the other, Mr. Jackson," he replied.
She staggered to her bearings, but the sails were new and good, And the ship smelt up to windward just as though she understood. As the winter's day was ending, in the entry of the night, We cleared the weary headland, and passed below the light.40
And they heaved a mighty breath, every soul on board but me, As they saw her nose again pointing handsome out to sea; But all that I could think of, in the darkness and the cold, Was just that I was leaving home, and my folks were growing old.

Preparatory.—Supply an introduction and a conclusion for the story suggested by this poem.

Indicate the pauses which should be made in this poem after words and phrases: (a) because of the Imaging process, (b) in order to conceive the thought more fully, (c) in passing from the narration of one action to that of another, (d) because of direct speech interrupted by narrative. (Introduction, pp. 7, 24, and 27.)

20 and 22. Indicate the Pause before phrases to prepare the mind for what is coming. (Introduction, p. 8.) What Inflection is used as a connecting link? (Introduction, p. 16.)

27. FIRELIGHT. With what should it be connected? How? (Introduction, p. 24.)

34. All hands ... sails. What change in Pitch and Force? (Introduction, pp. 22 and 26.)

40. What is the Shading? (Introduction, p. 33.)

Compare the mental state of the captain with that of the first mate. How is the difference indicated in the Pitch of their respective speeches? (Introduction, p. 22.)

Connect stanzas vii and viii with the last two lines of the poem. What background of thought is suggested? How is the rate of reading affected by the thoughts suggested? (Introduction, p. 14.)

THE EVENING WIND

Spirit that breathest through my lattice, thou That cool'st the twilight of the sultry day, Gratefully flows thy freshness round my brow: Thou hast been out upon the deep at play, Riding all day the wild blue waves till now,5 Roughening their crests, and scattering high their spray, And swelling the white sail. I welcome thee To the scorched land, thou wanderer of the sea!
Nor I alone;—a thousand bosoms round Inhale thee in the fulness of delight;10 And languid forms rise up, and pulses bound Livelier at coming of the wind of night; And, languishing to hear thy grateful sound, Lies the vast inland stretched beyond the sight. Go forth into the gathering shade; go forth,15 God's blessing breathed upon the fainting earth!
Go, rock the little wood-bird in his nest, Curl the still waters, bright with stars, and rouse The wide old wood from his majestic rest, Summoning from the innumerable boughs20 The strange deep harmonies that haunt his breast: Pleasant shall be thy way, where meekly bows The shutting flower and darkling waters pass, And where the o'ershadowing branches sweep the grass.
The faint old man shall lean his silver head25 To feel thee; thou shalt kiss the child asleep, And dry the moistened curls that overspread His temples, while his breathing grows more deep; And they who stand about the sick man's bed Shall joy to listen to thy distant sweep,30 And softly part his curtains to allow Thy visit, grateful to his burning brow.
Go,—but the circle of eternal change, Which is the life of nature, shall restore, With sounds and scents from all thy mighty range,35 Thee to thy birthplace of the deep once more; Sweet odours in the sea-air, sweet and strange, Shall tell the home-sick manner of the shore; And, listening to thy murmur, he shall dream He hears the rustling leaf and running stream.40

Preparatory.—Describe fully the picture suggested by (a) the first three lines of stanza i, (b) the last four lines of stanza i, (c) stanza ii. Give to each a suitable title.

1, 2, and 6. (Appendix A, 3, 4, and 8.)

1. THOU. What is the Inflection?

6. How does the sound accord with the sense?

15. Go forth ... go forth. Where is the Emphasis? (Introduction, p. 31.)

19-21. What feeling is aroused? How is the Quality of voice affected? (Introduction, p. 34.)

25-32. What change in Time? Account for it. (Introduction, p. 13.)

31. What atmosphere is created in this line? What Quality of voice is the result? What lines in the last stanza have the same atmosphere? (Introduction, p. 34.)

36. With what should Thee be connected? In what way?

33-36. What portions are read in lighter Shading? (Introduction, p. 33.)

PARADISE AND THE PERI

One morn a Peri at the gate Of Eden stood, disconsolate; And as she listened to the Springs Of Life within, like music flowing, And caught the light upon her wings5 Through the half-open portal glowing, She wept to think her recreant race Should e'er have lost that glorious place! "How happy," exclaimed this child of air, "Are the holy spirits who wander there,10 'Mid flowers that never shall fade or fall; Though mine are the gardens of earth and sea, And the stars themselves have flowers for me, One blossom of Heaven out-blooms them all!"
The glorious Angel, who was keeping15 The Gates of Light, beheld her weeping; And, as he nearer drew and listened To her sad song, a tear-drop glistened Within his eyelids, like the spray From Eden's fountain, when it lies20 On the blue flower, which—Brahmins say— Blooms nowhere but in Paradise. "Nymph of a fair, but erring line!" Gently he said,—"One hope is thine. 'Tis written in the Book of Fate,25 The Peri yet may be forgiven Who brings to this Eternal Gate The Gift that is most dear to Heaven! Go, seek it, and redeem thy sin: 'Tis sweet to let the Pardoned in!"30
Downward the Peri turns her gaze, And, through the war-field's bloody haze, Beholds a youthful warrior stand Alone, beside his native river,— The red blade broken in his hand,35 And the last arrow in his quiver. "Live," said the conqueror, "live to share The trophies and the crowns I bear!" Silent that youthful warrior stood— Silent he pointed to the flood40 All crimson with his country's blood, Then sent his last remaining dart, For answer, to th' invader's heart.
False flew the shaft, though pointed well; The tyrant lived, the hero fell!45 Yet marked the Peri where he lay, And when the rush of war was past, Swiftly descending on a ray Of morning light, she caught the last, Last glorious drop his heart had shed,50 Before its free-born spirit fled!
"Be this," she cried, as she winged her flight, "My welcome gift at the Gates of Light." "Sweet," said the Angel, as she gave The gift into his radiant hand,55 "Sweet is our welcome of the brave Who die thus for their native land.— But see—alas!—the crystal bar Of Eden moves not—holier far Than e'en this drop the boon must be,60 That opes the Gates of Heaven for thee!"
But nought can charm the luckless Peri; Her soul is sad, her wings are weary. When, o'er the vale of Balbec winging Slowly, she sees a child at play,65 Among the rosy wild-flowers singing, As rosy and as wild as they; Chasing, with eager hands and eyes, The beautiful blue damsel-flies That fluttered round the jasmine stems,70 Like-wingèd flowers or flying gems: And, near the boy, who, tired with play, Now nestling 'mid the roses lay, She saw a wearied man dismount From his hot steed, and on the brink75 Of a small imaret's rustic fount Impatient fling him down to drink. Then swift his haggard brow he turned To the fair child, who fearless sat, Though never yet hath daybeam burned80 Upon a brow more fierce than that.
But hark! the vesper call to prayer, As slow the orb of daylight sets, Is rising sweetly on the air, From Syria's thousand minarets!85 The boy has started from the bed Of flowers, where he had laid his head, And down upon the fragrant sod Kneels, with his forehead to the south, Lisping th' eternal name of God90 From purity's own cherub mouth.
And how felt he, the wretched man, Reclining there—while memory ran O'er many a year of guilt and strife, Flew o'er the dark flood of his life,95 Nor found one sunny resting-place, Nor brought him back one branch of grace? "There was a time," he said, in mild, Heart-humbled tones, "thou blessed child! When, young and haply pure as thou,100 I looked and prayed like thee—but now—" He hung his head—each nobler aim, And hope, and feeling, which had slept From boyhood's hour, that instant came Fresh o'er him, and he wept—he wept!105
And now, behold him kneeling there By the child's side, in humble prayer, While the same sunbeam shines upon The guilty and the guiltless one, And hymns of joy proclaim through Heaven110 The triumph of a soul forgiven!
'Twas when the golden orb had set, While on their knees they lingered yet, There fell a light, more lovely far Than ever came from sun or star,115 Upon the tear that, warm and meek, Dewed that repentant sinner's cheek: To mortal eye that light might seem A northern flash or meteor beam— But well th' enraptured Peri knew120 'Twas a bright smile the Angel threw From Heaven's gate, to hail that tear— Her harbinger of glory near! "Joy, joy for ever! my task is done: The Gates are passed, and Heaven is won!"125

Preparatory.—Divide this selection into four scenes, describing minutely each scene, and pointing out what part of the poem it covers. (Introduction, p. 10.)

What feelings are aroused by each scene?

Spirit, native, purity. (Appendix A, 8.)

1-4. Give two examples of Grouping from these lines. Give numerous other examples throughout the selection, and show how Grouping affects the Inflection and Pause. (Introduction, pp. 10-12.)

3-7. Read with a view to Perspective. Select other examples, noting especially ll. 17-22, 47-51, 72-77, and 112-117. (Introduction, p. 33.)

9. exclaimed this child of air. (Introduction, pp. 24 and 27.) Give other examples of direct discourse broken by narration.

54 and 56. Sweet ... Sweet. Which word is more emphatic? (Introduction, p. 31.) Compare l. 105.

84. With what should Is Rising be connected? How? Compare Upon the tear, l. 116.

THE LADY OF SHALOTT

On either side the river lie Long fields of barley and of rye, That clothe the wold and meet the sky; And thro' the field the road runs by To many-tower'd Camelot; And up and down the people go, Gazing where the lilies blow Round an island there below, The island of Shalott.
Willows whiten, aspens quiver, Little breezes dusk and shiver Thro' the wave that runs for ever By the island in the river Flowing down to Camelot. Four gray walls, and four gray towers, Overlook a space of flowers, And the silent isle embowers The Lady of Shalott. By the margin, willow-veil'd, Slide the heavy barges trail'd By slow horses; and unhail'd The shallop flitteth silken-sail'd Skimming down to Camelot: But who has seen her wave her hand? Or at the casement seen her stand? Or is she known in all the land, The Lady of Shalott?
Only reapers, reaping early In among the bearded barley, Hear a song that echoes cheerly From the river winding clearly, Down to tower'd Camelot: And by the moon the reaper weary, Piling sheaves in uplands airy, Listening, whispers "'Tis the fairy Lady of Shalott."

There she weaves by night and day A magic web with colours gay. She has heard a whisper say, A curse is on her if she stay To look down to Camelot. She knows not what the curse may be, And so she weaveth steadily, And little other care hath she, The Lady of Shalott.
And moving thro' a mirror clear That hangs before her all the year, Shadows of the world appear. There she sees the highway near Winding down to Camelot: There the river eddy whirls, And there the surly village-churls, And the red cloaks of market girls, Pass onward from Shalott.
Sometimes a troop of damsels glad, An abbot on an ambling pad, Sometimes a curly shepherd-lad, Or long-hair'd page in crimson clad, Goes by to tower'd Camelot; And sometimes thro' the mirror blue The knights come riding two and two: She hath no loyal knight and true, The Lady of Shalott.
But in her web she still delights To weave the mirror's magic sights, For often thro' the silent nights A funeral, with plumes and lights And music, went to Camelot: Or when the moon was overhead, Came two young lovers lately wed; "I am half sick of shadows," said The Lady of Shalott.